Speaking of

Teaching
T HE C E NT E R F OR T E AC HI NG AND L E ARNI NG S TANF ORD UNI VE RS I T Y
Fall 2008
NEWSLETTER
Vol.18, No.1
Creatively Speaking: Some Strategies for the
Preparation and Delivery of Oral Presentations
P
ublic speaking is an intrinsic
part of our job, whether we
are faculty and instructors lectur-
ing on complex materials, graduate
students preparing for a job talk, or
students making a class presentation.
As anyone who has experienced
stage fright knows, presenting in
public can be draining and challeng-
ing, but it neednt be. If your listen-
ers catch on and engage with you,
sharing your ideas in a public forum
can be exhilarating in its power to
stimulate interest and foster connec-
tion. To be sure, there is an art to
effective speaking, but it is a folk art
that is accessible to everyone who
is willing to reect on the medium
of speech and to practice. As actors
know, public speaking is a skill that
can be learned and can improve with
rehearsal and feedback. How can
we best prepare our voices for this
important task? How can we speak
and present in ways that ensure we
are heard and remembered? How
can we present what is at the heart
of our research in ways that invite
others to join our intellectual con-
versation?
This issue of Speaking of Teaching
features a range of practical strate-
gies that the Oral Communication
Program staff has developed for its
courses, workshops, and individual
consultations over the years. Our
hope is that this newsletter will
serve as a convenient summary of
helpful strategies to keep in mind
the next time you prepare to give a
job talk, conference paper, or lec-
ture, or prepare your students to give
presentations.
The Listening Mind
Doree Allen, Ph.D.
Central to an effective oral pre-
sentation is a design that takes into
account the needs of your listening
audience. Obvious? It should be, but
our focus as scholars, researchers,
and writers often distracts us from
our otherwise intuitive understand-
ing of this basic tenet of successful
oral communication. And although
To be sure, there is an art to effective
speaking, but it is a folk art that is accessible
to everyone who is willing to refect on the
medium of speech and to practice.
Also In This Issue:
The Listening Mind
Doree Allen, Ph.D.
Page 1
Effective Speaking:
A Survival Guide
Tom Freeland, Ph.D.
Page 2
Working with Your Voice
Tom Freeland, Ph.D.
Page 3
Telling the Tale of Your
Research
Marianne Neuwirth, Ph.D.
Page 4
Handouts For Your Classroom
Top Ten Ways to Conquer
Your Fear of Public Speaking
J ennifer Hennings and
Lindsay Schauer
Page 6
Powerful Pointers:
Using Powerpoint to Your
Advantage
J ennifer Hennings and
Lindsay Schauer
Page 7
speakers in a variety of contexts
frequently rely on an idiom more
suited to writing than to speech, this
tendency seems especially tempt-
ing for those who are presenting
scholarly and scientic research that
has appeared previously as a journal
article or book chapter. However, a
speech is not an essay on hind legs,
as J ames A. Winans, a noted scholar
of rhetoric, famously observed. As
efcient as it may seem to borrow
language and structure from a text
youve already completed, there is
also a lost opportunity to engage with
your audience when you neglect to
reappraise your material in light of
this new rhetorical situation in which
your audience is listening to your
ideas rather than reading them.
Because the spoken word is
evanescent, listening poses distinct
challenges, especially when it comes
to abstract subject matter. Studies
reveal that listeners cannot process
as much information as readers, they
have difculty staying oriented and,
unless they hear something more than
once, it is difcult for them to retain
it. Given these constraints, here are
some strategies to bear in mind when
translating a text into an oral pre-
sentation, which should enable you to
better know your audience so that you
reach your listeners as well.
In the opening 60 to 90 seconds of
a presentation you are not only intro-
ducing your topic but also yourself.
So it is important to take advantage
of this time, both to connect with the
members of your audience personally
as well as to orient them intellectu-
ally by placing your work in a larger
context and providing a preview of
what is to follow. More often than not,
speakers will sacrice this valuable
time to turn away from the audience
to read their titles (and sometimes
even their names) from the slide
projected behind them. How can you
make your introduction more memo-
rable? Some possibilities include
opening with a startling statement or
statistic, a rhetorical question, a vivid
anecdote, a challenge or a provoca-
tive quotation. But if these options
feel contrived, you might simply
consider how to link your subject
to the experiences and interests of
your audience so that you motivate
their need to know and establish
the common ground that is elemental
to effective communication. Since
listeners tend to remember what
they hear rst and last, it is similarly
important to think carefully about
your concluding remarks, which
should not only summarize your main
points, but emphasize their signi-
cance and suggest the implications of
your analysis or research.
A strong introduction and conclu-
sion are part of a clear organizational
structure that should also include
explicit transitions, internal summa-
ries, and the repetition of key words
and phrases. Because the listening
audience is at a speakers mercy
for organizing content, signpost
language such as rst, next, or
nally reinforces transitions and
marks your progress through your
presentation, linking the details to
your overarching thesis and acknowl-
edging where you are in relation to
where you are going. Introducing
your main points with a rhetorical
question can also help to keep your
audience on track. And, because
questions invite subliminal answers,
they serve to sustain audience
engagement.
To be sure, effective speaking and
writing share many attributes; how-
ever, while readers can set their own
pace, reread a complicated paragraph,
or leaf back over several pages to
refresh their understanding of the
central argument, listeners cannot.
Therefore, as a speaker you must
think beyond content and be con-
stantly aware of speech rate and pace,
attending to listeners need to keep up
with what you are saying. Addition-
ally, because it is difcult to listen
to abstract discourse for very long,
concrete language and examples
metaphors and analogies that make
unfamiliar things familiar or vivid
images that paint mental pictures
enable listeners to retain informa-
tion and grasp abstractions or highly
conceptual material. Simpler syntax
and vocabulary rather than long,
subordinated sentences and technical
jargon also appeal more to listeners
aural perception.
Rhetoricians often say that public
speaking is enlarged conversation,
and as sensible as this may seem,
it is often a challenge to keep the
relational nature of speech in mind
when the weight of our research or
data crowds the audience out of our
mental picture. We must remember
that although our content is essential,
there are or should be reasons
why we are presenting our work
orally rather than distributing it as a
document. Of course, there are many
motivations leading to each speak-
ing opportunity, but one is simply
the power of the spoken word and
the ancient potential inherent in the
communion of speaker and audience
especially when what the speaker
says is meant to be heard and not
read.
Effective Speaking:
A Survival Guide
Tom Freeland, Ph.D.
T
here is an often-cited but prob-
ably apocryphal study claiming
that public speaking is the worlds
most common phobia, more fearsome
to people than any other source of
anxiety such as heights, spiders, the
dark, or even death itself. If this is so,
as J erry Seinfeld observed, then at a
Fall 2008 Vol. 18, No.1 Speaking of Teaching
2
Public speaking is enlarged conversation.
dont run over your allotted time!
Apply the I.B.I. test: Interesting But
Irrelevant. Any item of information
you include must pass this test; you
must be satised that it is not merely
interesting but relevant. Your stan-
dard for determining relevance is the
purpose you have set for yourself in
giving the presentation.
If you use notes or get your
prompt from PowerPoint slides, try
to talk from your notes, not to them.
You need to know your material well
enough to require only a prompt;
speak to people as much as you pos-
sibly can, and pull the words up off
the page.
If you use a visual aid, apply the
I.B.I. test here as well. Every ele-
ment of every visual must prove its
relevance to the purpose of your
talk. Keep the design of your visu-
als clear and easy to understand, and
avoid the temptation to subject your
audience to a dizzying succession of
slides. Less often is more, particularly
where visual aids are concerned. And
in your performance, try not to get
pulled into the projection: here again,
talk to people. The only reason you
would ever actually need to look at
the projection is to point out some
specic item of interest, to guide the
audiences attention. Once you have
pointed it out, however, you dont
need to look at it any more.
These basics should give you
a good start. Bear in mind that an
effective performance is grounded in
effective rehearsal. Try out your ideas,
sort through them, keep the good ones
and let the less good ones go. Effec-
tive presenting is directly tied to your
investment of time and effort: the
more you work at it, the better and
more efciently you will be able to
funeral more people would rather be
in the cofn than at the lectern deliv-
ering the eulogy.
Whether or not it is actually the
most widespread phobia, there can
be no doubt that public speaking is
something many people would rather
avoid. It does not come easily, and
even for those who can feel (or who
at least can appear to feel) comfort-
able in front of an audience, an effec-
tive presentation requires substantial
preparationand even then so much
can go wrong. Notes get mixed up,
PowerPoint glitches appear out of
nowhere, and even when everything
goes as it should, there are still nerves
to deal with. Communicating com-
plex information to an audience is a
daunting task, so it pays to bear in
mind some fundamentals; individual
stylistic choices then can have a rm
foundation.
First, it can help to think of your
presentation as a nonction per-
formance. It is a performance, an
event occurring in time and space, but
rather than being a play or an opera or
interpretive dance, it is nonctional,
based on your research. A presenta-
tion is something that you do, not
just an inert mass of data, so you will
need to turn your write-up into some-
thing you can comfortably speak, and
that your audience can comfortably
hear and follow.
Second, think about this audience.
Who will be there? How much do
they know about your subject? Will
you need to dene terms for them or
explain basic concepts?
Third, be very clear about exactly
what you want to accomplish. Be
realistic about how much material
you will be able to make clear in the
time allotted to youand, of course,
allocate your preparation time.
And eventually you will come to see
that spiders are much more frighten-
ing than a live audience.
Working with Your Voice
Tom Freeland, Ph.D.
N
o matter how well-written your
notes are, and no matter how
clever and elaborate your Power-
Point slides are, sooner or later you
will have to speak. You have prob-
ably thought about your voice, most
likely when you wanted it to be
different than what you thought it
sounded like. But what is the voice?
What goes wrong with it? Why does
my voice sound so (choose one)
weird/high/low/nasal/soft/loud? The
voice is at once a very straightforward
and a very complicated phenomenon.
On the one hand, it is simply a faculty
of the body, the vibration of the vocal
folds caused by the passage of air
through the larynx. These vibrations
are then shaped by the tongue, teeth,
and lips to form specic phonemes,
which in turn combine to become
words, out of which we assemble
phrases and sentences, and off we go
from there, communicating. But voice
implies so much more: it has to do
with ones presence and participation
in social groupings. A voice is a vote;
one speaks in the hope of being heard.
Voice also has a fraught relation-
ship with ones sense of self. I often
am struck by how we seem for the
most part reconciled to our visual
appearancemost of us can look in a
mirror and recognize the person look-
ing back, but when it comes to the
voice, that is not the case. How often
do we hear a recording of our voice
and feel alienated, swearing that this
strange person speaking couldnt pos-
sibly be us? There are physiological
reasons for this your voice really
does sound different to you, with the
sound transmitted directly to your
ears inside you, through the solidity
of your head. But the voice is also a
Fall 2008 Vol. 18, No.1 Speaking of Teaching
3
Apply the I.B.I. test: Interesting But Irrelevant.
Any item of information you include must pass
this test; you must be satisfed that it is not
merely interesting but relevant.
tremulous meeting point of mind and
body. You have things you wish to say;
there are people you want to persuade,
to move, to amuse. There are things
you need to do with your voice, and
too often it doesnt come out the way
you hear it in your head. What goes
wrong?
We are all born with a rich and
expressive vocal endowment, but
when the mind bears down on the
body with its list of demands, the body
often balks, restricting our access to
our full natural voice. There are, of
course, vocal problems requiring long-
term therapy or medical intervention
(serious stammers or vocal nodes, for
example), but the following tips can be
used as the basis for a simple regimen
of vocal hygiene that can help with a
wide range of typical vocal problems.
First of all, RELAX! The most
common difculties people experi-
ence with their voices are rooted in
tension. If you are tense, your breath
is not owing freely; you are probably
squeezing around your vocal appara-
tus to produce a particular effect (to
be louder or to force your voice into
a deeper range); your jaw and tongue
get tight, interfering with the clarity
of your articulation. So take a moment
to observe yourself. Where do you
feel tense? In the shoulders, abdomen,
jaw, or elsewhere? J ust let it go! It all
begins with awareness: identify those
trouble spots, and train yourself to let
the tension ow away.
Then, BREATHE! It stands to
reason that you will need to be breath-
ing in order for your voice to function.
Most people do not breathe often or
deeply enough in public speaking.
Make sure that you do not try to speak
for too long on one breath. Each new
idea or major component of a more
complex idea should get a new breath.
You may even choose to make nota-
tions in your text to mark places
to breathe. Also, a nice slow, deep
inhalation is the best way to deal
with stage fright. Practice inhaling on
a count of four or ve. This will slow
down your pulse rate and help your
mind to clear, restoring a stronger
sense of control.
Next, RELEASE your voice. Let
it be something you allow to happen,
as opposed to something you have
to make happen. Drop your breath
deeply into your abdomen, and let
your diaphragm support your voice.
Every baby knows how to do this
youll notice that babies can project
their voices just beautifully without
going hoarse!
Then, MAGNIFY your ARTICU-
LATION. In addition to improving
clarity, magnifying articulation also
serves to slow a speaker down. Most
people speak too quickly in formal
situations, and this will help tre-
mendously in improving projection.
Combined with better breath support,
improved articulation will go a long
way toward xing most peoples
projection problems.
Finally, remember to GESTURE,
fully and uidly. Gesturing corre-
lates with vocal variety. If you have
a tendency to fall into a monotone,
try gesturing more. Gesturing should
not be forced or articial, of course;
the idea is make sure that you are not
suppressing any natural impulse to
gesture. Make sure that gestures are
appropriately scaled for you and for
the type of speech and the space in
which it will be given.

Telling the Tale of Your
Research
Marianne Neuwirth, Ph.D.
T
here are many elements and
components to keep in mind as
Fall 2008 Vol. 18, No.1 Speaking of Teaching
4
you prepare and deliver a public pre-
sentation of your research. Often our
topics are so specialized that even an
informed audience would have a hard
time following our presentation if
we conned ourselves to disciplinary
language and narrative. How can we
effectively connect with our audi-
ence, and turn our research writing
into an oral presentation that involves
our listeners? How do we organize
our presentation in a meaningful and
interesting way if we have a lot of
data?
One way to look at oral research
presentations is through the lens of
storytelling, one of the oldest, most
pervasive, and well-known forms of
communal discourse. Stories build
rapport, entertain, teach, persuade,
and guide our behavior and interac-
tions. Storytellers consciously con-
sider their audience, as telling a tale
is inherently a relational act. Stories
encompass language and imagery
that are immediately grasped by audi-
ence members and provide a familiar
means by which relevant information
is conveyed. Thus stories can serve
as a critical connector between you
and your audience.
Lest the reader think I am advo-
cating that you start your talk with:
Once upon a time there was a
lonely nanotechnology device on
a journey, let me clarify that
this process is intended to be a
way to conceptualize how the vari-
ous elements of your research can
be conveyed meaningfully to your
audience; it can loosen your think-
ing and enable you to visualize new
and interesting ways to describe
what you study, and why it matters.
Your focus as a speaker, ideally, is
to convey a coherent narrative that
captures your audiences attention,
and this template is one way to do
that. Were there moments of struggle
or difculty that you worked through
in your research process? Is your
original motivation for doing this
research still what drives you, or
A voice is a vote; one speaks in the hope of
being heard.
Fall 2008 Vol. 18, No.1 Speaking of Teaching
5
has it changed? Were there clues
that surprised you and helped
you unfold the mystery of your
research question? (Notice that
the root of the word question is
quest how is your research
like a quest?) What do you hope
to discover, or what have you
discovered that is of signicance?
What is the so what? aspect of
your research? What was the ah-
hah! moment or turning point for
you as a researcher? These are the
instances that most often captivate
listeners and sustain their attention.
It is important to let your listeners
know why your research matters to
you, and how your discoveries and
research are meaningful to their
lives, even if the connection is only
indirect.
There are two aspects of sto-
rytelling: the rst is the construc-
tion of the narrative itself, and the
second is the telling of the narra-
tive. The construction of the tale of
your research may not shift notably
from the standard research question
or hypothesis to methods, results,
discussion, and conclusion, but the
critical moments or turning points
in your research can be highlighted
in a way that builds curiosity
and interest in your listeners and
keeps your talk moving forward.
You could describe a compelling
example or a surprising nd which
motivated further investigation
and yielded unique results, or an
anomaly that required persever-
ance to comprehend. Accentuating
aspects of your discoveries that are
specically relevant and revealing
helps the audience stay engaged.
By structuring your talk in a way
that capitalizes on listeners respon-
siveness to suspense and their curi-
osity and desire to know more, you
can draw your audience in while still
maintaining your sense of compe-
tence and credibility. A student from
Structural Engineering may start
her talk by asking, There are three
buildings on campus that are most
vulnerable to severe damage during
the next earthquake do you know
if we are in one of them? I will let
you know as my talk proceeds.
Striking fear in the heart of your
listeners is not the goal, but rather,
to create a sustained interest in your
presentation.
Once you have laid out a clear
and compelling narrative, you must
breathe life into it with your oral
and physical delivery. The allure of
a spoken story is the expressiveness
of the narrator. Your clarity, verbal
pacing, emphasis, pausing, and
visual mannerisms create an atmo-
sphere that invites audience engage-
ment. Keeping a dynamic pace and
animating details through gestures,
facial expressions, and tone all con-
tribute to creating connections with
your listeners. Energy and enthu-
siasm suggest you are interested in
what you are studying and help the
audience stay engrossed and atten-
tive. By carefully constructing and
creatively telling the tale of your
research, you may inspire your audi-
ence members to declare later, I
heard the best story today.
Were there moments of struggle or diffculty
that you worked through in your research
process? Were there clues that surprised you
and helped you unfold the mystery of your
research question?
Courses
CTL 115/215, Voice Workshop.
An innovative workshop focusing on correct
breathing, voice production, expansion of
vocal range and stamina, and clarity of articu-
lation. Geared toward public speaking gener-
ally: presentations, lectures, job talks, etc. Can
be taken in conjunction with CTL 117.
CTL 117/217, The Art of Effective
Speaking. This is an introduction to the
principles and practice of effective oral com-
munication. Through formal and informal
speaking activities, students develop skills at
framing and articulating ideas through speech.
Strategies are presented for impromptu speak-
ing, preparing and delivering presentations,
formulating persuasive arguments, rening
clarity of thought, and enhancing general
facility and condence at oral self-expression.
CTL 125, From the Page to the Stage:
The Performance of Literature.
Explores the oral interpretation of poetry and
prose as both a performance art and a mode
of literary analysis, with the larger goal of
developing speaking skills. Emphasis on tex-
tual critique, audience response, and delivery
style. No previous performance experience
required.
CTL 177, Performance of Power:
Oratory and Authority from the
Ancient World to the Postmodern.
Speech as action has long been seen as
essential to leadership. This course exam-
ines theories and examples of oratory, from
Aristotle to Margaret Thatcher, assessing each
as a model of voice-activated authority. The
course also surveys the impact of mass media
technologies as they transform the public
space of oratory.
CTL 180/280, Interpersonal and Small
Group Communication. This course
explores and will enhance your personal
effectiveness in interpersonal and small group
communicating in the contexts of work,
family, and society. Areas covered include lis-
tening, conict resolution, leadership, power
and its implementation, group dynamics, emo-
tions, and cultural inuences on interactions.
Students will learn with the aid of a course
reading packet, videos/DVDs, role-playing,
interviews, individual and group presenta-
tions, and group exercises.
CTL 219, Oral Communication for
Graduate Students. This course addresses
a range of graduate student speaking activities
such as teaching (delivering lectures, guiding
discussion, and facilitating small groups),
giving professional presentations and confer-
ence papers, and preparing for orals or theses
defenses. In-class projects, discussion, and
individual evaluation assist students in devel-
oping effective techniques for improving oral
communication skills.
Fall 2008 Vol. 18, No.1 Speaking of Teaching
6
Handouts for Your Classroom
Top Ten Ways to Conquer Your Fear of Public Speaking
J ennifer Hennings and Lindsay Schauer
1. Figure out what scares you.
Investigate your fears by making a list of the specic things that make you feel anxious or afraid. Then make a list of
ways you can cope with or address these fears.
2. Breathe deeply.
Practice breathing deeply and slowly. Think yoga style: breathe deeply while youre practicing, before you go on stage,
and during your speech. You can also try the calming sigh exercise: inhale deeply, then let out a vocalized sigh as you
exhale.
3. Warm up your body before speaking.
Exercise reduces tension and helps you concentrate. Getting a little bit of physical activity before your speech will calm
you and help you get rid of excess nervous energy. Try taking a walk outside, doing arm circles or stretching gently.
4. Practice.
Formal practice before a speaking event will help you feel more condent about what youre going to say and how youll
say it. But informal practice in social situations (talking in class, speaking to people you dont know at a party, etc.) will
also help you conquer some of your speaking anxiety and fears.
5. Visualize success.
Picture yourself succeeding and having fun. Close your eyes and do a mental rehearsal of your speech once or twice
before you deliver it.
6. Get enough sleep and have a good breakfast.
Its important to take good care of yourself and follow your morning rituals before a speaking event. Dont drink coffee
if youre not a coffee drinker (or if youre a regular coffee drinker, make sure to get that daily cup the day of your big
speech). Being rested will also help you feel less anxious.
7. Visit the space ahead of time.
Get as many details as you can about the room, the audience, the equipment, your time constraints, etc. Do you need a
watch, or is there a big clock at the back of the room? Will you have a podium? Where will the audience be around you?
Is someone going to introduce you, or will you need to introduce yourself? If youre speaking on a panel, nd out about
the set-up.
8. Play the Worst Case Scenario game.
Whats the worst thing that could happen? What will you do if that does happen? Often, even the worst possible situation
isnt as bad as you think.
9. Take the pressure off yourself.
Very rarely does anyone give a completely perfect speech. Your audience will understand if you make mistakes. Think of
every speech you give, and the mistakes you make, as stepping stones toward becoming a more effective speaker.
10. Visit an Oral Communication Tutor (OCT)!
Our OCTs hold ofce hours seven days a week and are available to tutor all undergraduate and graduate students at Stan-
ford. Tutors can videotape you, offer feedback and advice, and can meet with you consecutively as you work to brain-
storm, organize and practice a speech. And its free! Visit http://speakinghelp.stanford.edu to schedule an appointment.
Handouts for Your Classroom
Powerful Pointers: Using PowerPoint to Your Advantage
J ennifer Hennings and Lindsay Schauer
A great PowerPoint presentation can indeed brighten up a speech and shed light on concepts a speaker wishes the audi-
ence to grasp. But, if done poorly, PowerPoint can bring down an entire oral presentation, befuddling listeners and dis-
tracting from a speakers own voice and message. So, before assembling a list of slides to display alongside your speech,
think twice about how youd like PowerPoint to play a role in your presentation. Here are a few tips to keep in mind when
inviting PowerPoint to share the stage with you.
Put the VISUAL back into visual aid.
As ubiquitous as PowerPoint has become, not all presentations need PowerPoint. Instead of turning to PowerPoint as a
default, consider rst the central idea, main points and key examples of your presentation. Where might your listeners
benet from a visual explanation of your material? (In some cases, the answer may be: Im just ne without a Power-
Point presentation, and I have better visual ways to get my point across.) DO use PowerPoint to illustrate key concepts
with images, graphs, charts or videos. But AVOID text-heavy slides that replicate the content of your speech. You, not
your slides, should be the focal point of your presentation.
Eschew obfuscation. (Translation: Be clear and simple.)
Use large (size 24+) sans serif fonts like Ariel or Helvetica and choose a color scheme with sufcient contrast (black
font on white, yellow font on navy blue). Avoid ying fonts, sound effects and other distractions. When you present data,
include only the gures or studies that you will discuss. Extraneous information can confuse or distract your listeners.
One slide, one idea.
PowerPoint slides are cheap. Instead of cramming multiple graphs, charts or ideas onto one slide, give each concept its
own real estate. Not only will this enable you to enlarge your fonts and images, it will also help you avoid overwhelming
your audience.
Know your transitions.
How do your slides relate to one another? Why are you presenting them in this order? Understand the order of your slides,
and use verbal transitions between slides to highlight the overall reasoning and structure of your presentation. Try using
transitional phrases containing internal previews and summaries. (Now that weve looked at the history of home-school-
ing, Id like to look at two key case studies.)
Speak to your audience, not to your PowerPoint.
Your effectiveness as a speaker depends on your connection with the audience. Resist the temptation to break this connec-
tion by turning to read from your PowerPoint slides! Instead, face the audience and make eye contact with as many people
as you can. You might gesture briey to your slides when you need to draw the audiences attention to a certain feature,
but in general its important to maintain a physical orientation toward your audience. If youre concerned about losing
your place, try speaking with a brief set of notes in front of you.
Can you PD the TLAs in your AOP?
Its important to dene key terms throughout your presentation, especially when using acronyms or technical jargon spe-
cic to your discipline. If your language is particularly complex or unfamiliar to your audience, consider including brief
denitions of key terms in your slides.
Carry a second parachute.
Projector bulbs burn out. Computers crash. Cable adapters disappear. Have a back-up plan (overhead slides or handouts)
in case your PowerPoint takes an unexpected vacation.
Get a second opinion.
Oral Communication Tutors (OCTs) can give you feedback on using PowerPoint effectively. Visit
http://speakinghelp.stanford.edu to make an appointment.

Fall 2008 Vol. 18, No.1 Speaking of Teaching
7
The Center for Teaching and Learning
Fourth Floor, Sweet Hall
Stanford University
Stanford, CA 94305-3087
http://ctl.stanford.edu
Oral Communication Services:
The Oral Communication Program at the Center for Teaching and Learning offers courses, workshops, and individual
consultations for graduate and undergraduate students. We also work closely with faculty members and instructors across
the curriculum to tailor speaking components for their courses. More information about the program is available at
http://ctl.stanford.edu/Oralcomm.
Recommended Reading
Alley, Michael. The Craft of Scientic Presentations. New York: Springer, 2003.
Linklater, Kristin. Freeing the Natural Voice. Hollywood: Drama Publishers, 2006.
Atkinson, Max. Lend Me Your Ears: All You Need to Know About Making Speeches and Presentations. London, New
York: Oxford University Press, 2004.
Heath, Chip and Dan Heath. Made to Stick: Why Some Ideas Survive and Others Die. New York: Random House, 2007.
Naistadt, Ivy. Speak Without Fear. New York: Harper Resource, 2004.
Tufte, Edward. The Visual Display of Quantitative Information. Cheshire: Graphic Press, 2001.
People:
Doree Allen, Ph.D.,
Director of the Oral Communication Program
doree.allen@stanford.edu
(650) 725-4149
Thomas Freeland, Ph.D.
Oral Communication Program Lecturer
Thomas@stanford.edu
(650) 736-2337
Jennifer Hennings
Oral Communication Specialist and Tutor Manager
inksalot@stanford.edu
(650) 725-7667
Marianne Neuwirth, Ph.D.
Oral Communication Program Lecturer
neuwirth@stanford.edu
(650) 736-7298
Lindsey Paul
Oral Communication Specialist and
Tutor Manager
lpaul@stanford.edu
(650) 725-7667
If you ask me what I came into this world to do, I will tell you:
I came to live out loud. mile Zola